18 December 2014

Taufer also successfully uses all the elements of situational comedy, which in Mamet is generated through language or dialogues, and as the pace of the performance hastens, its increasingly dark humour intensifies as well. This is an interesting decision that doesn’t necessarily come from the text, because the text is more cynical in its basic traits, and more merciless and violent towards its characters than it is filled with dark humour […]

Mamet’s plays, in which a clear story leads the spectator solidly to the end, are of course primarily a challenge for actors. This is another reason why Taufer’s staging is intimate, in a way, chamber. Practically, this means that the stage and the space for the audience are reduced to the minimum, and this enables each spectator a close experience from the eyes of the hall to the eyes of the stage. […]

Taufer’s Glengarry Glen Ross is for the audience who enjoy lucid dialogues, superb language and an intense, yet intimate, theatre experience.

Ženja Leiler

Koridor - križišča umetnosti

21 December 2014

The story is set into a minimalist office space, equipped with all the compulsory accessories, such as a coffee machine and an electric kettle, which evoke a feeling of sterility and bureaucratic fossilisation. The playwright, multi-award winning David Mamet, opens the action with a dynamic dialogue, and the director Vito Taufer with the help of the dramaturg Tomaž Toporišič retains this same tense and energetic style through the entire performance. […]
The language surprises as well (an excellent translation by Zdravko Duša from 2001): throughout the entire play it is crass, filled with expletives, curses and insults, which helps the authenticity of the competitive atmosphere, while the poignant and at times satirical humour discharges the air. The costumes by Barbara Stupica, consisting of more or less elegant business suits, and a set that is at one point flooded by a pile of paper, additionally solidify the close and difficult atmosphere that convincingly intensify to the climax. This remains in the spirit of the performance and the criticism of the system, which makes machines out of people, makes them into opportunists and avaricious persons. It’s almost impossible to be more pertinent than this.

Veronika Šoster


20 December 2014

No longer is this a slow psychological drama, but rather a physically charged play, in which chairs and whiteboards fly about, consistently with the dimensions of the stage, with the same force as they did in – do you remember? – Class Enemy.

Petra Vidali

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